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Introduction

Relevance: In modern times there is an increased interest in the problems of expanding the reader's horizons, improving the quality of reading, the level of understanding, in-depth penetration into the literary text. The tasks of activating the artistic and aesthetic needs of children, developing their literary taste and preparing for independent aesthetic perception and analysis of a work of art can be carried out through the study of dramatic works, in particular when studying the play - A.N. Ostrovsky's fairy tale "The Snow Maiden" and its interpretation in other forms art.

Hypothesis: if, when studying the dramatic work of the play - A.N. Ostrovsky's fairy tale "The Snow Maiden", use its interpretation in other types of art, then as a result, students will be able to more accurately and deeply reveal the ideological and compositional basis of the work.

The object of the project is the dramatic work of A.N. Ostrovsky "The Snow Maiden".

The subject of the project activity is the peculiarities of the interpretation of the dramatic work of A.N. Ostrovsky "The Snow Maiden" in other types of art.

Purpose: to get acquainted with the interpretation of the play-drama by A.N. Ostrovsky "The Snow Maiden" in other types of art and determine the effectiveness of its influence on the reader's perception of students when studying the work.

1. Study and analyze the material on this issue.

2. To expand the students' ideas about the creation of the play - A.N. Ostrovsky's fairy tale "The Snow Maiden".

3. Develop skills in the design of research papers.

4. Increase motivation to study dramatic works

5. Cultivate love for literature and other arts.

Research methods:

1. Study of literary sources.

2. Questioning students.

3. Collection of creative works of students.

4. Testing.

5. Analysis, synthesis and generalization of the obtained results.

We recommend using it in the lessons of Russian literature as an additional material, both for self-training, and as a methodological guide that allows you to correct and deepen the reader's perception of students when reading A.N. Ostrovsky's dramatic work "The Snow Maiden".

Interpretation of the play - fairy tales by A.N. Ostrovsky "The Snow Maiden" in other art forms

spring fairy tale Ostrovsky's "The Snow Maiden" was first published in the journal "Bulletin of Europe", No. 9 for 1873. It caused conflicting opinions in literary circles. “The editor of the journal“ Herald of Europe ”M. Stasyulevich, writers I.A. Goncharov, I.S. Turgenev and others were captivated by the beauty and lightness of the language of The Snow Maiden, “the power of the playwright’s imagination, how well he studied and reproduced the fairy-tale world, perceived as a kind of reality thanks to the skill of the author,” Lebedev notes.

Some of his contemporaries did not understand Ostrovsky's intention. They reproached the author for completely disregarding the laws of dramatic art when creating his play "The Snow Maiden". "Poetic vinaigrette", "a fantastic whim refined from any real impurities", "puppet comedy" - such is the bouquet of witticisms addressed to one of Ostrovsky's most sincere creations. "The play was so unexpected that it confused its first readers." Even Nekrasov was at a loss, having read the play fluently, he answered the author with a business note, which offended him greatly. To which Ostrovsky replied: "... you value new, dear to me work as cheaply as they have never valued any of my works."

Modern explorer Ko Yong Ran believes that when it appeared, the play caused bewilderment among contemporaries, as they “are already accustomed to the fact that Ostrovsky annually gave readers and the theater a realistic social comedy or drama from modern Russian life. That is why in the 1860s. Ostrovsky's historical dramaturgy did not find general approval.

The Snow Maiden was not too lucky in the first production, although Ostrovsky himself staged the play at the Maly Theater. All the troupes of the then Imperial Theater were involved in it: drama, opera and ballet, they tried to give the spectacle solemnity and festivity. “I stage the play myself, as a complete master,” Ostrovsky wrote. “It is very well understood here that only under this condition will it be successful.”

The editors of the book The History of Russian Literature of the 19th Century note that for the production of the opera, Ostrovsky himself zealously discussed the costumes, scenery and magical kelp proposed by the inventive K.F. Waltz. The playwright pondered how it would be technically more successful to make the scene of the melting of the Snow Maiden. "The difficult effect of the disappearance of the melted Snow Maiden - behind the illuminated and gradually thickening jets of water, the figure of the artist Fedotova went into the hatch - was a success as well as possible." Quoting Lebedev, we want to note that, according to the writer's intention, musical accompaniment should merge in the play with dramatic action. At the request of Ostrovsky and the order of the directorate of the imperial theaters, the music for the "spring tale" was composed by Pyotr Ilyich Tchaikovsky, who called "The Snow Maiden" one of his favorite brainchildren.

Getting acquainted with Lebedev's article "The Snow Maiden" we learn that the music for the play was written by the composer as individual scenes were sent to him, on which the playwright worked. The enthusiastic, poetic mood that Tchaikovsky usually experienced with the arrival of spring and the awakening of nature from hibernation, as it were, was transferred to the music. The score of The Snow Maiden, created in the spirit of folk melodies, amazes with the generous variety of “joyful spring mood” expressed in it, which does not exclude notes of light sadness, and “major-Russian, cheerful and courageous tone”. “Tchaikovsky's music for The Snow Maiden is charming,” wrote Ostrovsky.

But in general, the Moscow performance was not a success. The reason for the failure of the first theatrical production"Snow Maiden" critic A.N. Chebyshev - Dmitriev saw in the fundamental non-dramaturgical nature of the "spring fairy tale". In his interpretation, Ostrovsky's drama is a deeply lyrical thing. The subtle, elusive movements of spring feelings and moods awakening in the soul of the heroine of a fairy tale, the fantasticness of her external and internal appearance - all these qualities of the Snow Maiden, according to the critic, are inexpressible on stage, they are accessible only to lyrical and epic poetry. No most brilliant actress will be a real Snegurochka, for "one of her essential features lies in the seductive unimaginability of the Snegurochka."

“Drama requires action, movement, external events,” the critic summed up, “meanwhile, the story of the Snow Maiden is the story of the inner world of the soul, rich in sensations, thoughts, feelings, but this life of a young heart is expressed too little outside and, in turn, almost never depends on the course of external events ... the fairy tale dances and sings, but does not move.

“The reproaches of Chebyshev - Dmitriev are solid, but only from the standpoint of theatrical aesthetics of the 70s of the XIX century,” noted E.M. Sakharova and I.V. Semibratov.

At the beginning of the 20th century, the play was staged in the best Russian theaters by directors L.P. Lensky, K.S. Stanislavsky. With their productions, they wanted to "revive the fairy tale."

Ostrovsky's dramaturgical tale enjoyed the greatest success in the performance of the Moscow Art Theater directed by K.S. Stanislavsky, who wrote: "The Snow Maiden" is a fairy tale, a dream, a national legend, written, told in Ostrovsky's magnificent sonorous verses. One might think that this playwright, the so-called realist and everyday worker, never wrote anything but wonderful poems, and was not interested in anything other than pure poetry and romance. The play was staged with music by A. Grechaninov. Many tricks and directorial innovations were included in the performance: the omission of part of the text, changing the order of the scenes. In the performance, Stanislavsky introduced a goblin with leshens, the Snow Maiden was accompanied by a bear, with whom she played. The conversation between the Snow Maiden and Spring took place against the backdrop of Berendeys snoring in their sleep, and so on.

The performances were so bright, colorful, expensive that some critics even began to write that the excessive luxury of the production takes the actors and the audience away from Ostrovsky's play itself.

Gorky wrote to A.P. Chekhov: "The Snow Maiden" is an event! A huge event - believe me! .. The artists stage this play wonderfully, magnificently, amazingly well! .. All are good, one is better than the other, and - by golly - they are like angels sent from heaven to tell people the depths of beauty and poetry.

However, E.M. Sakharova and I.V. Semibratova note the following: “Getting acquainted with the criticism of the production of The Snow Maiden on May 11, 1873 at the Moscow Maly Theater, you involuntarily draw attention to the fact that only a few pieces were successful in the performance. The whole turned out to be boring, sluggish and stretched out. The reason for the failure was hidden not so much in the carelessness of the production, but in the absence of an ensemble cast, and, consequently, of that dramatic and intense lyricism that underlies the artistic unity of the tale. A similar picture is found in other productions.

The Snow Maiden by Ostrovsky gained wide popularity in the opera by Nikolai Andreevich Rimsky-Korsakov, written in 1880-1881.

Even during the life of Ostrovsky, the play, which did not find soil on the stage of the Russian drama theater, found a new and full life on the opera stage in the musical arrangement of Nikolai Andreevich. And this is far from accidental, since the construction of Ostrovsky's play approached the musical composition.

“In the winter of 1879/80, I again read The Snow Maiden and seemed to see her amazing beauty,” the composer recalled. - I immediately wanted to write an opera on this plot, and as I thought about this intention, I felt more and more in love with Ostrovsky's fairy tale. The inclination that had appeared in me for the ancient Russian custom and pagan pantheism now flared up with a bright flame. Was not for me in the world the best plot, there were no better poetic images for me than the Snow Maiden, Lel or Spring, there was no better kingdom of the Berendeys with their wonderful king, there was no better worldview and religion than the worship of Yarila - the Sun.

Composer Rimsky-Korsakov asked Ostrovsky for permission to use the play for an opera, compiled a libretto, which the playwright approved. The plot of The Snow Maiden gave the composer the opportunity to sing the life of the people, flowing simply, unsophisticatedly, in harmony with nature, to reflect their life, colorful rituals.

I.F. Kunin in his article "The Snow Maiden" indicates that the draft of the opera was completed on August 12, and the orchestration was completed upon his return to St. Petersburg on March 26, 1881. “To a large extent, the music of the opera was based on folk melodies, but not everyday songs, as in Tchaikovsky,” Lebedev notes, “but on ritual melodies and ancient Slavic melodies.” We feel sorry for the Snow Maiden, we feel sorry for the past spring with its gentle dawns, quiet evening light and modest white lilies of the valley,” composer B. Astafiev summed up his impressions of Rimsky-Korsakov’s music.

Nikolai Andreevich, with his musical flair, caught the basis of the artistic unity of the scenic images of the fairy tale. “Listening to the opera, we feel a gradually increasing warmth, which reaches its peak in the hymn to the god Yarila”

To this fabulous musical theme, which marks the gradual triumph of heat and light over cold and darkness, with the help of a very complex system of leitmotifs and leitharmonies Rimsky-Korsakov, according to E.M. Sakharov and I.V. Semibratov, connects thematic lines different heroes. In the center is the theme of the Snow Maiden, which gives dynamics to the musical fabric of the entire opera.

Making a general analysis of the music of The Snow Maiden, the composer wrote: it should be said that in this opera I largely used folk melodies, borrowing them mainly from my collection ... Moreover, many small motifs or chants, components of more or less long melodies, undoubtedly, I drew from similar small tunes in various folk melodies ... "

The entire musical fabric of the opera is folk. “Taken from old songs, from instrumental playing and revealed in a new way by Korsakov in processing for the opera choir and orchestra, or the melodic, harmonic, timbre elements of The Snow Maiden created by the composer himself delight with their, as Balakirev used to say, “folk truthfulness” and at the same time impeccability taste, grace, nobility.

AT further history productions of the opera, a performance on the stage of the Moscow Private Russian Opera by S. Mamontov in 1885 became a significant phenomenon. This production was preceded by an amateur dramaturgic performance "The Snow Maiden", played in home theater Mamontov in 1882. “The artistic part of the production was taken over by V.M. Vasnetsov - that's when he unfolded his talents in full breadth, - recalled the son of S. Mamontov V.S. Mammoths. “At the same time, he not only himself was imbued with the poetry of this marvelous tale, felt its Russian spirit, appreciated its incomparable pure, authentic Russian language, but, I think, infected all the participants in this performance with his passion”

The scenery for the play, made by the artist who created a whole poetic world“Old Russian architecture in the fictional fairyland of the Berendeys. The performers were dressed in authentic national Russian costumes kept in the Abramtsevo Museum. Vasnetsov himself played Santa Claus and was very good in this role. More more luck was the opera production of "The Snow Maiden". The creative talent of Viktor Mikhailovich Vasnetsov, who designed the performance, surprisingly harmonized with the style of music. Vasnetsov's scenery and costumes, fabulous and at the same time authentic, delighted contemporaries.

I.F. Kunin notes that “for the opera performance, the artist painted Kupava’s house with beautiful ornaments, and made the clothes of boys and girls more festive.

"Chambers of Tsar Berendey" (appendix) - a sketch of the scenery for the opera "The Snow Maiden" - a vivid example of the talent of a decorator, a wonderful fairy tale artist V. Vasnetsov. This scenery was made by the artist in Abramtsevo on the amateur stage of S. Mamontov. Vasnetsov's scenery impressed everyone so much that they were transferred to the big professional stage of the opera.

K. Korovin and I. Levitan helped Vasnetsov to work on the scenery. Korovin defined the task of the decorator when staging The Snow Maiden in this way: “Here it is necessary to give a poem to Russia, a poem of Russian nature ... Her awakening of spring ... After all, The Snow Maiden is the most touching poem of Russian nature!” The artist chose homespun white canvas as the basis for all the costumes. He painted it himself with colored ornaments, creating a decorative spectacle of mise-en-scenes.

V.S. Kuzin and E.I. Kubyshkin believe that among the fairy-tale heroines of Viktor Vasnetsov, the cutest is the Snow Maiden. “The artist was fascinated by this marvelous poetic image…” Researchers of Vasnetsov’s works noticed that traces of a pencil are visible on a sheet of paper, spots of transparent watercolor applied with a thin brush. Moreover, Vasnetsov does not paint over the paper, and its pale color becomes part of the face, figure, dress. The artist tinted the paper behind the figure with blue watercolor - and the colored spot immediately highlighted the figure of the Snow Maiden. Her appearance was born from a soft combination of blue, ocher, gold. The figure of the girl is slightly touched with whitewash, as if powdered with snow. And although the Snow Maiden is standing at the spinning wheel, she holds the spindle, but does not spin the yarn. She seems to be not here, but somewhere in a fairy-tale world.

The Snow Maiden is a dream, nature itself, for some time becoming a pretty girl.

“It was one of the first cases in the Russian opera house, when between theater artist and the warehouse of music, a close relationship arose,” points out I .. Kunin.

Contemporaries understood the value of the artistic synthesis of the three arts: dramatic, musical and stage action. The stylization of folk art in the play, music and stage design are in the same line of artistic research. One of his contemporaries wrote: “The poetic work of A.N. Ostrovsky ... got perfect harmony with the sounds and palette of the composer and artist. The Yearbook of the Imperial Theaters of 1910 shows: “A rare unanimity of the author, composer and artist appeared in The Snow Maiden.”

The trio Ostrovsky - Vasnetsov - Rimsky-Korsakov created a work of art of artistic beauty - the only one inimitable in the history of culture.

In the middle of the 20th century, based on the play "The Snow Maiden", a feature and animated film with the same name was made. In 1952, the Soyuzmultfilm film studio and director A. Snezhko-Blotskaya shot an animated film in which they used the music of N.A. Rimsky-Korsakov. The use of V. Vasnetsov's sketches for depicting the costumes of the characters, the scenery is also unexpected.

In the work of Alexander Nikolayevich Ostrovsky, the spring fairy tale "The Snow Maiden" occupies a special place. She is the pinnacle of the playwright's poetic activity. In it, he expressed his dream of a peaceful, free and joyful life of the people, sang the beauty and power of nature and love. The play is a magnificent artistic fusion of fantasy and everyday life, symbolism and reality.

Researchers of Ostrovsky's work, analyzing the play, drew attention to the fact that the playwright, while working on The Snow Maiden, used various sources. Some argue that in the chorus of guslars, from the second act of the "spring tale", the motives of "The Tale of Igor's Campaign" sound, others in Bobyl's monologues felt the intonation of "Bobyl's Song" by I.S. Nikitin, others point to the fact that in the image of Frost there is a continuation of Nekrasov's poems "To whom it is good to live in Russia" and "Frost, red nose". There were convincing attempts to compare The Snow Maiden with W. Shakespeare's drama A Midsummer Night's Dream. Based on the article by E.M. Sakharova and I.V. Semibratova, we can note that the main source of the tale was the poetry of peasant holidays. “Among the papers of the playwright ... there is a copy of an article describing may holiday in the Tver province, material about wedding ceremonies in the Danilovsky district of the Yaroslavl province. The chorus of birds was borrowed by the playwright from the folk song “What is it like for birds to live across the sea”, the monologue of Kupava, offended by Mizgir, bears traces of processing, located in Ostrovsky’s papers “The Song of Hops”, etc. ”

The poetic fantasy of the playwright was enriched by the study of the works of Russian folklorists of the mythological school. Ostrovsky became interested in reading "Russian Folk Tales" by A.N. Astafieva, was familiar with famous book this wonderful scientist Poetic views Slavs to nature. »

After science XIX century revealed the most common universal themes of mythology, many writers began to consciously build their works so that they were perceived against the background of these mythological models and from this they acquired a deeper and more meaningful meaning, and Ostrovsky, as a writer, was no exception. " Lyric play A.N. Ostrovsky "The Snow Maiden" is a work that contains folk tale about a snow maiden, a folk legend about the ancient Berendey tribe, ancient calendar rituals, songs, therefore “The Snow Maiden” is a multi-layered, multi-level, multi-genre work”

“This is a social utopia”, - this is how A.I. calls Ostrovsky’s play “The Snow Maiden”. Revyakin. “It has a fabulous plot, characters, and setting. Profoundly different in its form from the playwright's social plays, it organically enters the system of democratic, humanistic ideas of his work. In this delightful fairy tale, woven from motifs and images of oral poetry, Ostrovsky embodied his dream of a peaceful, joyful, free life of the people.

I. Medvedeva in the article "Three Playwrights" expresses her opinion that the play "The Snow Maiden" is organically connected with one of those topics raised in the last cycle, which the researchers called "novel". Many chapters (plays) of this "novel" treat love, with its highest human looseness, liberation from deadly loneliness. This theme is, as it were, fixed in the abstract folk image of a girl - the Snow Maiden, who, having fallen in love, freed herself from the icy shackles, but died. “So Ostrovsky transforms folk image for topical comedy” Here is how I. Medvedev calls the play: “Topical comedy”.

“We are talking about a romantic mystery,” says A.V. Mankovsky, discussing the genre nature of The Snow Maiden. “The main features of a romantic mystery are: the two-dimensionality of the action that takes place in it; and the picture of the world depicted in it; the presence of fantastic characters in the background of the mystery; insert numbers as a result of the use of “the technique of extra-genre inclusions (thanks to them, the framework of the drama is, as it were, blurred by lyrical and epic elements); stylistically brightly colored stage directions." Considering the artistic originality of the play "The Snow Maiden", comparing it with this definition, we could agree with the opinion of A.V. Mankovsky.

“The action takes place in the country of the Berendeys, in prehistoric times,” is the first remark of The Snow Maiden, “a spring tale in four acts with a prologue.” Reading about the life origins and stage fate of the play, we know that this country is fictional. “While traveling along the Volga, A. Ostrovsky could hear about the Berendeev swamp located in the Aleksandrovsky district of the Vladimir province. This information could reinforce the old Russian legends about the ancient people of the Berendeys, who were ruled by Tsar Berendey. Berendei - nomadic people Turkish origin. This material was used by the author to create the Berendey kingdom, turning the Turkic people into a settled Slavic people living in Russia in prehistoric times.

A fantastic picture is drawn in the remark: “The whole sky is covered with birds that have flown in from the sea. Spring - Red on cranes, swans and geese descends to the ground, surrounded by a retinue of birds. Referring to the statement of A.L. Stein, we can note that this picture is a poetic exaggeration. The whole sky is covered with birds that have flown in from the sea. That's all. The whole horizon was occupied by birds. This creates a striking picture of multitude, movement, diversity. And yet at the core fantastic image- the real fact is the spring return of birds.

“The prologue is amazing precisely because of this constant and very subtly executed combination fairy tale fiction with a depiction of the real, psychological and even everyday appearance of each of the characters,” notes A.L. Matte. In the prologue of the play, a straw effigy of Maslenitsa is designated as a character, and at the end fourth act Yarilo appears - at a festival in his honor. Thus, we can conclude that the plot of the play unfolds during one spring. “To be more precise, let us turn to the literature on Slavic paganism. “Ancient Maslenitsa, judging by the abundant solar symbolism, was supposed to be celebrated in one of the solar phases - on the days of the spring equinox, March 20-25.” Note that these days symbolized not only the victory of heat over cold and the beginning of the expulsion of winter. The Spring Festival was at the same time a holiday in honor of the departed ancestors, usually intercourse with them, visiting cemeteries and commemorations. It is at such a time that the Snow Maiden appears in the kingdom of the Berendeys. As for the date of the celebration of Yarilin's Day, "on June 30 they make a straw doll, dress up her kumach sundress, necklace and kokoshnik, wear it around the village with songs, and then undress and throw it into the water." So we can come to the conclusion that the action of the play covers three months - from the end of March - to the end of June.

In Ostrovsky's work, the usual annual change of seasons, the spring awakening of the forces of nature are poetically embodied in the images of Spring - Red, Grandfather Frost, their daughter - the fragile and gentle Snow Maiden, who asks to be released to people from the wilderness of forest solitude. She is ready to listen day and night to the songs of the shepherd Lel, whose singing captivates the soul, open to the impressions of life and art. The heart of the Snow Maiden is cold, she does not know the feeling of love, “the spring warmth of languishing bliss”, according to Moroz, is deadly for her:

Going to ruin the Snow Maiden; only

And waiting to plant in her heart

Beam the fire of love; then

There is no salvation for the Snow Maiden, Yarilo

Burn it, incinerate it, melt it.

I don't know how, but it will die. How long

Her soul is pure as a child,

He has no power to harm the Snow Maiden.

Thus, at the very beginning of the play, the playwright outlines the possibility of its tragic denouement. In the dispute between Frost and Spring sounds eternal question about happiness. This dispute outlines one of the main themes of the "spring fairy tale". Ostrovsky formulated this theme as follows:

"Happiness lies in not loving" (Frost)

"Happiness lies in loving" (Spring)

Each in his own way imagines the happiness of his daughter, causing the reader or viewer to think about this topic.

The struggle of Frost, cold, numbness, and the Sun, warmth, love, is the content of Ostrovsky's "spring fairy tale". The heart of the Snow Maiden became the field of this battle.

The fate of the Snow Maiden is closely intertwined with the fate of the fabulous people of the Berendeys, to whom she leaves the forest. It is in her that “the cause of cruel winters and spring colds”, the Sun jealously and gloomily looks at her, angry at the daughter of her brother Frost, and at the “cold of feelings” among the people of the Berendey kingdom, denying them the desired warmth.

The kingdom of the Berendeys itself, as Lebedev points out, is a kind of utopian harmonious society, living in truth and conscience, respecting the freedom of feelings, based on admiration for beauty. The cordial and wise ruler of this country is Tsar Berendey. His name sounds like the name of the tribe itself - Berendei.

Quoting A.I. Revyakin, it can be noted that “in the realm of the Berendeys, devoid of arbitrariness and violence, hostile to selfishness, self-interest and predation, “there are no bloody laws” ... among the Berendeys, who live in truth and conscience, freedom of public and personal relations dominates. They have a shepherd and a king equal before the law. The people and the king are united in their aspirations.

“The wisest king,” A.I. Revyakin calls Tsar Berendey so. A representative of the people, a tireless defender of its interests, a father among his children. He equally shares work and fun, sorrow and joy with his people. And the grateful people sing his glory:

Hello, wise one,

Great, Berendey,

The silver-haired lord, the father of his land.

For the happiness of the people

Gods keep you

And freedom reigns

Under your scepter ... [d.II, yavl.3]

A fierce struggle is going on all over the world: gaining glory for their princes, people are dying in unknown fields, their orphaned wives are shedding tears; cornfields are trampled, trees and grasses droop. Among the surrounding states, where strife and wars rage, the playwright created with his poetic imagination an unprecedented kingdom of peaceful Berendeys, which is an amazing exception:

Cheerful cities in the country of the Berendeys,

Joyful songs in the groves and valleys,

Berendey's power is red in the world ... [d.II, yavl.1]

Quoting A.L. Stein, we want to note that "the characteristic of the Berendeys is imbued with good-natured, purely Russian humor." “In the guise of many Berendeys,” notes A.L. Stein - there is something foolish, buffoonish. The kid is an instigator, Brusilo is a braggart, Smoking room is a bully. A.I. Revyakin adhered to the same point of view. He very accurately determined that the first minister, Berendey Bermyata, was a humorous figure. He believes that this image is depicted with popular positions. Bermyata is sly and does not worry much about the affairs of the government. Berendey wants to know everything, Bermyata doesn't know anything for sure.

Their funny conversation is directly related to plot development plays. Tsar Berendey is worried. It is not enough for him that the people are not hungry, do not wander with knapsacks, do not rob along the roads. What does he see as the main problem? Berendey is worried about the change that is happening to his subjects:

In the hearts of people I noticed I will cool

Considerable; fervor of love

I haven't seen Berendey for a long time.

The service to beauty disappeared in them.

Why, the king thinks, and gets angry

Yarilo - The sun on his people.

“People should serve love and beauty. Love is instilled in people by nature and the gods, it is great gift nature, happiness of life, spring flower. The service of love is the service of beauty.”

Berendey is going to combine the "unbreakable union" of all the brides and grooms on Yarilin's day, hoping to propitiate the deity. But is it possible? With the appearance of the beautiful Snow Maiden in the settlement, the guys quarreled with their girls, although their efforts to awaken love in the Snow Maiden's heart are in vain. “Beautiful is the superstellar, unearthly purity of the Snow Maiden. Beautiful and dangerous. She inherited two natures - the lively, warm beginning of love from Mother Spring and the icy indifference of Father Frost. For the time being, she does not know how to love, she likes one beauty: listening to Lel's songs is her joy. Even the ardent, insane passion of the dashing merchant Mizgir, who fell out of love with his bride Kupava, cannot melt the ice of the Snow Maiden's feelings.

“But the real, living human heart, the “hot heart”, is not with the Snow Maiden, but with Kupava. Her love, her suffering, her warm tears are humanly intelligible to everyone. There is no icy cold beauty in her. Spring wind, green May, the smell of wild flowers fills this image, and it is not in vain that Tsar Berendey patronizes her paternally. As A.L. Stein, the character of Kupava was unmistakably chosen by Ostrovsky. It was such a woman who should have stood in the play - a fairy tale next to the Snow Maiden. "Kupava's name comes from the name white flower. In regional dialects, it means a magnificent and proud beauty. Coop - passion. Kupava is a pagan, she is obedient to the god Yarila.

Kupava is a woman to the core; a woman endowed with all the qualities of her gender - amorous, sensual, vain, touchy, devoid of logic, devoted to the one who will answer her with love.

In this love collision, which forms the basis of the play, in addition to the Snow Maiden herself and Kupava, Lel and Mizgir participate.

Lel fulfills the position of a shepherd who does not sow or plow, wallows in the sun, and in his mind he only has girlish caresses. "Lel is a radiant and light creature, he gives and breaks kisses, his songs, permeated with the sun, awaken love."

“Lel's songs give the theme of love a broader and more universal sound. They are a kind of poetic allegory that makes the theme of the play clearer.

Mizgir acts as a cavalier of Kupava. The name is also meaningful. "Mizgir is a tarantula, an evil spider that sucks the life force out of a person." Referring to the statement of Lebedev, “this guy is daring on a grand scale. He is endowed with typical male character traits - male inconstancy and male selfishness. Mizgir is a man with a broad outlook, he walked around the world as a trading guest, saw overseas countries and local beauties. As a developed individual, he acts by personal choice, is able to fall in love and out of love.

Kupava's complaint to Tsar Berendey about the fiancé's treachery, so touchingly natural in the mouth of an abandoned girl, and the anger of the always merciful and benevolent king at the criminal who abused love, makes him condemn Mizgir to eternal exile. However, the appearance of the Snow Maiden strikes the king, who is sensitive to everything beautiful. “Mighty nature is full of wonders!” - he exclaims, admiring the perfect beauty of the girl, and calls on the Berendeys to ignite her infant soul with the desire for love. Mizgir and Lel respond to his words.

The Snow Maiden does not know love and does not understand why the guys were chasing her. She is even ready to pretend for the benefit and interests of the beans. The Snow Maiden does not know how to love. But it hurts when Lel kisses another. Her vanity requires everyone to see how Lel loves her. “For the time being, only the external forms of relations between a man and a woman are available to the Snow Maiden, and not the essence of love.”

Meanwhile, Mizgir fell in love with the Snow Maiden. He liked what distinguishes her from Kupava - purity, impregnability, he liked that the Snow Maiden "is not of this world."

But love also transformed Mizgir himself. He did not know before the suffering of love. He knew only her pleasures. A.L. Stein here speaks of Mizgir - "terrible."

At the end of the third act, he is chasing the ghost of the Snow Maiden. It is a symbol of what is to come. “All his love for the Snow Maiden was the pursuit of a ghost.”

The burning feeling of Mizgir frightens the Snow Maiden. And yet she yearns to love and asks Spring to give her love. “Love will be your death,” warns the mother. But the girl is adamant:

Let me die, one moment of love

More dear to me years of anguish and tears.

The magic wreath, presented to her daughter in Spring, awakens the soul of the Snow Maiden, causes a whole range of new, unusual and sweet sensations. Ostrovsky wonderfully depicts the moment when a young girl has a need for love and when, under the influence of this need, the world is transformed:

Oh mama, what's wrong with me? What beauty

The green forest is dressed! Shores

And the lake is not to be missed.

The water beckons, the bushes are calling me

Under your shade; and the sky, mother, the sky!

The flood of dawn in quick waves Swaying.

Here, as A.I. Revyakin rightly noted, Ostrovsky, in constructing the plot of The Snow Maiden, resorts to symbolism. “The main dramatic knot that knits the play is the struggle of Santa Claus, personifying spiritual coldness and evil, with the Sun, a symbol of spiritual warmth and love.” The Snow Maiden is doomed. The victory of the Sun brings her a joyful death - the Snow Maiden melts from love. Dying, she knew the happiness of love.

This departure of the Snow Maiden sounds in the play as a sacrifice to the fertility and prosperity of the Berendey kingdom. Her death can also be interpreted as a victory of the living over the dead, but not in the understanding of the calendar change of seasons, but in a broader sense, sacred sense. “The Snow Maiden is an surreal, mythological creature, it’s as if she doesn’t exist from the very beginning - she doesn’t feel, doesn’t suffer, she doesn’t have what other girls have ... she is completely devoid of the ability to love ... While the Snow Maiden doesn’t have a “girl’s heart”, she is not suitable for the victim, however, having received it, or rather a wreath symbolizing it, a sign of fertility and new life, expressed in a plant code, she immediately falls into the zone of influence of Yarila and “dies” in the rays of the sun. Note that, according to tradition, Yarilo was depicted in a wreath of wild flowers, similar to the one that the mother gave to the Snow Maiden and which has a magical effect.

“The victory of the Sun is the victory of justice,” notes A.I. Revyakin. She stopped Frost's intervention in the life of the Berendeys, which cooled their hearts and returned to them the joy of love attraction. The tragic rebellion of Mizgir, who protests against the injustice of the gods, who deprived him of his beloved, does not destroy the general bright mood of the work. After all, warmth and the sun are returning to the world of the Berendeys, and the beauty of the surrounding nature inspires people with love of life and optimism.

Admiring the "Snow Maiden" A.V. Lunacharsky wrote: “Ostrovsky gave in The Snow Maiden an incomparable masterpiece, one of the greatest pearls of Russian fairy tale poetry…”

Alexander Nikolayevich Ostrovsky is known for his works, which have become an integral part of every person's life. For his perspicacity and very bright, but at the same time with a touch of tragedy, the works they found a response in films and in the theater. He wrote his famous work The Snow Maiden in 1873 based on the collection of fairy tales by Alexander Afanasiev. Special writing in verse and without rhyme and elements of ballet gives the work a certain zest and originality.

After the release of the work on his birthday, on his anniversary, the music for future play written by Pyotr Ilyich Tchaikovsky. Thanks to the harmony of text and musical lines, this work has become multi-level and multi-tasking with a story about a snow maiden and legends with rituals and songs. This whole fantastic and magical play is the embodiment of fairy tale motifs with solemn motifs.

The plot of the work develops in the kingdom of Berendey. The main conflict is the desire to love and not be alone. Father Frost notices this and tries to warn mother Vesna-Krasna that Yarilo wants to melt the Snow Maiden with hot rays because of the violated canons of celibacy.

The life of the Snow Maiden was not always joyful and happy. Once in the family of the peasant Bobyl, she does not feel that she is dear to them. For them, she is the bait for a successful party in marriage. She is beautiful and sweet, but the desire to be loved makes itself felt. However, she turns her attention to the shepherd Lel, who gives his songs to everyone in the area. When Mizgir appears on the threshold, she realizes that she does not feel love for him. He is intoxicated with love and, in a passionate impulse, trying to prove that he has achieved his goal, he takes the Snow Maiden to the mountain, where she melts under the rays of the hot sun. All the feelings that overwhelm Mizgir make him throw himself into the lake because of the loss of love. In response to this, Yarilo does not regret the death of two lovers, but on the contrary, punishes them for their disobedience. Instead of mourning, he makes everyone sing a cheerful song, since this death means nothing to him.

The talking birds have their own place in the play. They sing about the completed system

This play is the embodiment of beauty and magic, but at the same time there is a tragedy that is overcome with the help of goodness in the soul of every person. All human vices appear before us, but the shortcomings fade against the background of love and desired happiness. Now the soul of the Snow Maiden is free and happy. In the last minutes of her life, she became loved and cherished just like her mother and father.

Option 2

A.N. Ostrovsky wrote the play "The Snow Maiden" based on the plot of a fairy tale invented by the Russian people, therefore the work describes Slavic deities such as Yarilo, Frost, Spring - Krasna and Leshy.

The work "The Snow Maiden" is written in poetic form, but without rhyme, thus it is very different from Ostrovsky's other works. It has a single rhythm, which made it possible to combine the text with the music.

The play shows all the colors of the kingdom of nature: harsh winters and hot summers, flowering and lifelessness of plants. The author describes a portrait of nature, as well as a person. There are many different epithets and comparisons in the work, which show that each a natural phenomenon similar to human feelings.

The work describes the actions taking place in the mythical Berendey kingdom. In it, each person observes the law of honor and conscience, they are afraid to anger the gods. The tsar, described by Ostrovsky, worries about his people, he thinks that the inhabitants do not see the true natural beauty, they have become conceited and envious.

The Snow Maiden is lonely, but her soul wants a big and pure love from which she must die. The girl really liked the shepherd Lel, who gave his beautiful songs to every girl in the village, which hurts the Snow Maiden very much. The main character of the play wants to be loved only by her.

Foster parents want to marry the girl to a rich groom, but the Snow Maiden has no feelings for the young man. Several people become unhappy from this, and the girl herself suffers, because she does not know what true love is.

The Snow Maiden asked her mother Vesna to give her the opportunity to fall in love. To which she received the answer that the girl would fall in love with the first person she met, who turned out to be Mizgir. The young man was in love and is trying to show everyone that he has achieved reciprocity from an adamant beauty. He dragged the Snow Maiden by force to meet the dawn on the mountain and with the first rays of the sun the girl melted. This shows how cold, even if loving, the heart is not able to listen to another.

The Snow Maiden was ready to give her life, just to feel love. Mizgir, having promised his beloved about a joint death when trouble comes, rushed into the lake with cold water. The human soul is free and has no fear when in love.

Analysis of the work Snow Maiden 3

By genre, the work belongs to a lyrical fairy tale, called by the author spring, the basis of the plot of which the writer borrows from folk legends.

The action of the play takes place in the kingdom of Berendey invented by the writer, in which main character works of the Snow Maiden, presented by the author in the form of a young girl, having Frost and Spring-Krasna as parents. Berendey's kingdom is portrayed by the author as a utopian state dominated by the laws of conscience and honor, as well as worship of the will of the gods.

The girl, having left her father's house due to Frost's excessive guardianship, lives in the family of Bobylikh and Bobyl, who are eager to successfully marry the Snow Maiden in order to get rich. However, the girl dreams of a strong and sincere feeling of love, which is beyond her control.

The meeting with the young shepherd Lel, who, unlike other male representatives, is indifferent to the Snow Maiden, changes the girl, and she persuades her mother to give her the opportunity to enjoy wonderful moments of love. Spring-Krasna yields to her daughter's request, giving her the opportunity to experience love, but mother and father Frost foresee the imminent disaster that comes with the appearance of the first rays of the spring sun, melting the heart of the Snow Maiden, who only realized the beauty and power of love, to her death. Beloved Mizgir, who turned out to be the very object of the girl's first feeling, unable to bear her loss, ends his life by throwing himself into a pond, dreaming of reunion with the Snow Maiden who turned into water.

A distinctive feature of a complex and multifaceted piece is its unique rhythm and melodiousness, creating the impression of a rhymed verse, while there are no rhymes in the text of the work. In addition, the play uses numerous colloquial phrases borrowed from Russian folk tales. In addition, the storyline of the play has a variety of secondary themes, including Slavic legends, legends about the Berendey tribe, ancient rituals, dances and songs.

Numerous emotional epithets and comparisons are used as means of artistic expression in the work, emphasizing the close connection between nature and man.

The central role in the narrative is given to the dramatic conflict associated with the opposing force of love and the coldness of the soul of the Snow Maiden, who seeks to hide from the chilling loneliness in a love fire.

The semantic load of the play demonstrates the interconnection of natural and human phenomena in the form of light and darkness, cold and heat, which, being in eternal struggle and contradictions, do not exist without each other, and also asserts the meaninglessness of life in the absence of love.

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Ministry of Education and Science of the Republic of Kazakhstan

State Institution "City Department of Education, Physical Culture and Sports of Temirtau"

KSU "Secondary school No. 22 of Temirtau"

Topic:Interpretation of the drama-fairy tale by A.N. Ostrovsky "Snow Maiden"

Supervisor:teacher of Russian language and literature, Lepekhina Nadezhda Viktorovna

Temirtau, 2012

annotation

This paper discusses the interpretation of the play-drama by A.N. Ostrovsky "The Snow Maiden" in other types of art and the effectiveness of its influence on the reader's perception of students when studying the work. Presented in an accessible form theoretical material about the creation of the play - the fairy tale "The Snow Maiden" by A.N. Ostrovsky; about its embodiment on the theater stage, including opera (composer N.A. Rimsky - Korsakov), in painting (Vasnetsov, Korovin, Roerich, Levitan), in animation. To identify the level of ZUN students on this topic, a test (with answer keys) for self-control is offered.

During the work on the project, a hypothesis was put forward:if, when studying the dramatic work of the play - A.N. Ostrovsky's fairy tale "The Snow Maiden", use its interpretation in other types of art, then as a result, students will more accurately and deeply be able to reveal the ideological and compositional basis of the work.

objectproject is the dramatic work of A.N. Ostrovsky "The Snow Maiden".

Subjectproject activities are the features of the interpretation of the dramatic work of A.N. Ostrovsky "The Snow Maiden" in other types of art.

Objective:get acquainted with the interpretation of the play-drama by A.N. Ostrovsky "The Snow Maiden" in other types of art and determine the effectiveness of its influence on the reader's perception of students when studying the work.

interpretation of the snow maiden reader student

Introduction

1.Interpretation of the play - fairy tales by A.N. Ostrovsky "The Snow Maiden" in other art forms

.Research work

1 Organization of primary perception and commentary of the text

2 The specifics of reading and analyzing the fairy tale play by A.N. Ostrovsky "The Snow Maiden" (results of the experiment)

Conclusion

List of used literature

Application

Introduction

Relevance: In modern times, there is an increased interest in the problems of expanding the reader's horizons, improving the quality of reading, the level of understanding, in-depth penetration into the literary text. The tasks of activating the artistic and aesthetic needs of children, developing their literary taste and preparing for independent aesthetic perception and analysis of a work of art can be carried out through the study of dramatic works, in particular when studying the play - A.N. Ostrovsky's fairy tale "The Snow Maiden" and its interpretation in other forms art.

The object of the project is the dramatic work of A.N. Ostrovsky "The Snow Maiden".

The subject of the project activity is the peculiarities of the interpretation of the dramatic work of A.N. Ostrovsky "The Snow Maiden" in other types of art.

.Study and analyze the material on this issue.

.To expand students' ideas about the creation of a play - A.N. Ostrovsky's fairy tale "The Snow Maiden".

.Develop research writing skills.

.Increase motivation to study dramatic works

.Cultivate a love of literature and other arts.

Research methods:

.The study of literary sources.

.Student survey.

.Collection of students' creative work.

Testing.

.Analysis, synthesis and generalization of the obtained results.

1. Interpretation of the play - fairy tales by A.N. Ostrovsky "The Snow Maiden" in other types of art

Ostrovsky's spring tale "The Snow Maiden" was first published in the journal "Bulletin of Europe", No. 9 for 1873. It caused conflicting opinions in literary circles. “The editor of the journal“ Herald of Europe ”M. Stasyulevich, writers I.A. Goncharov, I.S. Turgenev and others were captivated by the beauty and lightness of the language of The Snow Maiden, “the power of the playwright’s imagination, how well he studied and reproduced the fairy-tale world, perceived as a kind of reality thanks to the skill of the author,” Lebedev notes.

A modern researcher of Ostrovsky’s work, Ko Yong Ran, believes that when the play appeared, it aroused bewilderment among contemporaries, since they “are already accustomed to the fact that Ostrovsky annually gave readers and the theater a realistic social comedy or drama from modern Russian life. That is why in the 1860s. Ostrovsky's historical dramaturgy did not find general approval.

The editors of the book The History of Russian Literature of the 19th Century note that for the production of the opera, Ostrovsky himself zealously discussed the costumes, scenery and magical kelp proposed by the inventive K.F. Waltz. The playwright pondered how it would be technically more successful to make the scene of the melting of the Snow Maiden. "The difficult effect of the disappearance of the melted Snow Maiden - behind the illuminated and gradually thickening jets of water, the figure of the artist Fedotova went into the hatch - was a success as well as possible." Quoting Lebedev, we want to note that, according to the writer's intention, the musical accompaniment in the play was to merge with the dramatic action. At the request of Ostrovsky and the order of the directorate of the imperial theaters, the music for the "spring tale" was composed by Pyotr Ilyich Tchaikovsky, who called "The Snow Maiden" one of his favorite brainchildren.

But in general, the Moscow performance was not a success. The reason for the failure of the first theatrical production of "The Snow Maiden" critic A.N. Chebyshev - Dmitriev saw in the fundamental non-dramaturgical nature of the "spring fairy tale". In his interpretation, Ostrovsky's drama is a deeply lyrical thing. Subtle, elusive movements of spring feelings and moods awakening in the soul of the heroine of a fairy tale, the fantasticness of her external and internal appearance - all these qualities of the Snow Maiden, according to the critic, are inexpressible on stage, they are available only to lyrical and epic poetry. No most brilliant actress will be a real Snegurochka, for "one of her essential features lies in the seductive unimaginability of the Snegurochka."

“The reproaches of Chebyshev - Dmitriev are solid, but only from the standpoint of theatrical aesthetics of the 70s of the XIX century,” noted E.M. Sakharova and I.V. Semibratov.

At the beginning of the 20th century, the play was staged in the best Russian theaters by directors L.P. Lensky, K.S. Stanislavsky. With their productions, they wanted to "revive the fairy tale."

The Snow Maiden by Ostrovsky gained wide popularity in the opera by Nikolai Andreevich Rimsky-Korsakov, written in 1880-1881.

“In the winter of 1879/80, I again read The Snow Maiden and seemed to see her amazing beauty,” the composer recalled. - I immediately wanted to write an opera on this plot, and as I thought about this intention, I felt more and more in love with Ostrovsky's fairy tale. The inclination that had appeared in me for the ancient Russian custom and pagan pantheism now flared up with a bright flame. There was no better plot for me in the world, there were no better poetic images for me than the Snow Maiden, Lel or Spring, there was no better kingdom of the Berendeys with their wonderful king, there was no better worldview and religion than the worship of Yarila - the Sun.

To this fabulous musical theme, which marks the gradual triumph of heat and light over cold and darkness, with the help of a very complex system of leitmotifs and leitharmonies, Rimsky-Korsakov, according to E.M. Sakharov and I.V. Semibratov, connects thematic lines of different characters. In the center is the theme of the Snow Maiden, which gives dynamics to the musical fabric of the entire opera.

In the subsequent history of opera productions, a performance on the stage of the Moscow Private Russian Opera by S. Mamontov in 1885 became a significant phenomenon. This production was preceded by an amateur dramatic performance of The Snow Maiden, played at Mamontov's home theater in 1882. “The artistic part of the production was taken over by V.M. Vasnetsov - that's when he unfolded his talents in full breadth, - recalled the son of S. Mamontov V.S. Mammoths. “At the same time, he not only himself was imbued with the poetry of this marvelous tale, felt its Russian spirit, appreciated its incomparable pure, authentic Russian language, but, I think, infected all the participants in this performance with his passion”

The decorations for the play were magnificent, made by the artist, who created a whole poetic world of “Old Russian architecture in the invented fairy-tale country of the Berendeys. The performers were dressed in authentic national Russian costumes kept in the Abramtsevo Museum. Vasnetsov himself played Santa Claus and was very good in this role. An even greater success was the opera production of The Snow Maiden. The creative talent of Viktor Mikhailovich Vasnetsov, who designed the performance, surprisingly harmonized with the style of music. Vasnetsov's scenery and costumes, fabulous and at the same time authentic, delighted contemporaries.

I.F. Kunin notes that “for the opera performance, the artist painted Kupava’s house with beautiful ornaments, and made the clothes of boys and girls more festive.

The Snow Maiden is a dream, nature itself, for some time becoming a pretty girl.

It was one of the first cases in the Russian opera theater when a close relationship arose between the theater artist and the storehouse of music,” points out I. Kunin.

The trio Ostrovsky - Vasnetsov - Rimsky-Korsakov created a work of art of artistic beauty - the only one inimitable in the history of culture.

Researchers of Ostrovsky's work, analyzing the play, drew attention to the fact that the playwright, while working on The Snow Maiden, used various sources. Some argue that in the chorus of guslars, from the second act of the "spring tale", the motives of "The Tale of Igor's Campaign" sound, others in Bobyl's monologues felt the intonation of "Bobyl's Song" by I.S. Nikitin, others point to the fact that in the image of Frost there is a continuation of Nekrasov's poems "To whom it is good to live in Russia" and "Frost, red nose". There were convincing attempts to compare The Snow Maiden with W. Shakespeare's drama A Midsummer Night's Dream. Based on the article by E.M. Sakharova and I.V. Semibratova, we can note that the main source of the tale was the poetry of peasant holidays. “Among the playwright's papers ... there is a copy of an article describing the May holiday in the Tver province, material about wedding ceremonies in the Danilovsky district of the Yaroslavl province. The chorus of birds was borrowed by the playwright from the folk song “What is it like for birds to live across the sea”, the monologue of Kupava, offended by Mizgir, bears traces of processing, located in Ostrovsky’s papers “The Song of Hops”, etc. ”

The poetic fantasy of the playwright was enriched by the study of the works of Russian folklorists of the mythological school. Ostrovsky became interested in reading "Russian Folk Tales" by A.N. Astafiev, was familiar with the famous book of this remarkable scientist “Poetic views of the Slavs on nature. »

After the science of the 19th century revealed the most general universal themes of mythology, many writers began to consciously build their works in such a way that they were perceived against the background of these mythological models and from this they acquired a deeper and more meaningful meaning, and Ostrovsky, as a writer, was no exception. "The lyrical play by A.N. Ostrovsky "The Snow Maiden" is a work that contains a folk tale about a snow maiden, a folk legend about the ancient Berendey tribe, ancient calendar rituals, songs, therefore" The Snow Maiden "is a multi-layered, multi-level, multi-genre work"

I. Medvedeva in the article "Three Playwrights" expresses her opinion that the play "The Snow Maiden" is organically connected with one of those topics raised in the last cycle, which the researchers called "novel". Many chapters (plays) of this "novel" treat love, with its highest human looseness, liberation from deadly loneliness. This theme is, as it were, fixed in the abstract folk image of a girl - the Snow Maiden, who, having fallen in love, freed herself from the icy shackles, but died. “This is how Ostrovsky transforms the people's image for a topical comedy” This is how I. Medvedev calls the play: “A topical comedy”.

“The action takes place in the country of the Berendeys, in prehistoric times,” is the first remark of The Snow Maiden, “a spring tale in four acts with a prologue.” Reading about the life origins and stage fate of the play, we know that this country is fictional. “While traveling along the Volga, A. Ostrovsky could hear about the Berendeev swamp located in the Aleksandrovsky district of the Vladimir province. This information could reinforce the old Russian legends about the ancient people of the Berendeys, who were ruled by Tsar Berendey. The Berendeys are a nomadic people of Turkic origin. This material was used by the author to create the Berendey kingdom, turning the Turkic people into a settled Slavic people living in Russia in prehistoric times.

A fantastic picture is drawn in the remark: “The whole sky is covered with birds that have flown in from the sea. Spring - Red on cranes, swans and geese descends to the ground, surrounded by a retinue of birds. Referring to the statement of A.L. Stein, we can note that this picture is a poetic exaggeration. The whole sky is covered with birds that have flown in from the sea. That's all. The whole horizon was occupied by birds. This creates a striking picture of multitude, movement, diversity. And yet, at the heart of the fantastic image is a real fact - the spring return of birds.

“The prologue is amazing precisely because of this constant and very subtly carried out combination of fairy tale fiction with a depiction of the real, psychological and even everyday appearance of each of the characters,” notes A.L. Matte. In the prologue of the play, a straw effigy of Shrovetide is designated as a character, and at the end of the fourth act, Yarilo appears - at a festival in his honor. Thus, we can conclude that the plot of the play unfolds during one spring. “To be more precise, let us turn to the literature on Slavic paganism. “Ancient Maslenitsa, judging by the abundant solar symbolism, was supposed to be celebrated in one of the solar phases - on the days of the spring equinox, March 20-25.” Note that these days symbolized not only the victory of heat over cold and the beginning of the expulsion of winter. The Spring Festival was at the same time a holiday in honor of the departed ancestors, usually intercourse with them, visiting cemeteries and commemorations. It is at such a time that the Snow Maiden appears in the kingdom of the Berendeys. As for the date of the celebration of Yarilin's Day, "on June 30 they make a straw doll, dress up her kumach sundress, necklace and kokoshnik, wear it around the village with songs, and then undress and throw it into the water." So we can come to the conclusion that the action of the play covers three months - from the end of March - to the end of June.

Going to ruin the Snow Maiden; only

And waiting to plant in her heart

Beam the fire of love; then

There is no salvation for the Snow Maiden, Yarilo

Burn it, incinerate it, melt it.

I don't know how, but it will die. How long

Her soul is pure as a child,

He has no power to harm the Snow Maiden.

Thus, at the very beginning of the play, the playwright outlines the possibility of its tragic denouement. In the dispute between Frost and Spring, the eternal question of happiness sounds. This dispute outlines one of the main themes of the "spring fairy tale". Ostrovsky formulated this theme as follows:

"Happiness lies in not loving" (Frost)

"Happiness lies in loving" (Spring)

Each in his own way imagines the happiness of his daughter, causing the reader or viewer to think about this topic.

The struggle of Frost, cold, numbness, and the Sun, warmth, love, is the content of Ostrovsky's "spring fairy tale". The heart of the Snow Maiden became the field of this battle.

Hello, wise one,

Great, Berendey,

The silver-haired lord, the father of his land.

For the happiness of the people

Gods keep you

And freedom reigns

Under your scepter ... [d.II, yavl.3]

Cheerful cities in the country of the Berendeys,

Joyful songs in the groves and valleys,

Berendey's power is red in the world ... [d.II, yavl.1]

Quoting A.L. Stein, we want to note that "the characteristic of the Berendeys is imbued with good-natured, purely Russian humor." “In the guise of many Berendeys,” notes A.L. Stein - there is something foolish, buffoonish. The kid is an instigator, Brusilo is a braggart, Smoking room is a bully. A.I. Revyakin adhered to the same point of view. He very accurately determined that the first minister, Berendey Bermyata, was a humorous figure. He believes that this image is depicted from the positions of the people. Bermyata is sly and does not worry much about the affairs of the government. Berendey wants to know everything, Bermyata doesn't know anything for sure.

Their funny conversation is directly related to the plot development of the play. Tsar Berendey is worried. It is not enough for him that the people are not hungry, do not wander with knapsacks, do not rob along the roads. What does he see as the main problem? Berendey is worried about the change that is happening to his subjects:

In the hearts of people I noticed I will cool

Considerable; fervor of love

I haven't seen Berendey for a long time.

The service to beauty disappeared in them.

Why, the king thinks, and gets angry

Yarilo - The sun on his people.

“People should serve love and beauty. Love is instilled in people by nature and the gods, it is a great gift of nature, the happiness of life, a spring flower. The service of love is the service of beauty.”

“But the real, living human heart, the “hot heart”, is not with the Snow Maiden, but with Kupava. Her love, her suffering, her warm tears are humanly intelligible to everyone. There is no icy cold beauty in her. Spring wind, green May, the smell of wild flowers fills this image, and it is not in vain that Tsar Berendey patronizes her paternally. As A.L. Stein, the character of Kupava was unmistakably chosen by Ostrovsky. It was such a woman who should have stood in the play - a fairy tale next to the Snow Maiden. “The name Kupava comes from the name of a white flower. In regional dialects, it means a magnificent and proud beauty. Coop - passion. Kupava is a pagan, she is obedient to the god Yarila.

Kupava is a woman to the core; a woman endowed with all the qualities of her gender - amorous, sensual, vain, touchy, devoid of logic, devoted to the one who will answer her with love.

In this love collision, which forms the basis of the play, in addition to the Snow Maiden herself and Kupava, Lel and Mizgir participate.

“Lel's songs give the theme of love a broader and more universal sound. They are a kind of poetic allegory that makes the theme of the play clearer.

Meanwhile, Mizgir fell in love with the Snow Maiden. He liked what distinguishes her from Kupava - purity, impregnability, he liked that the Snow Maiden "is not of this world."

But love also transformed Mizgir himself. He did not know before the suffering of love. He knew only her pleasures. A.L. Stein here speaks of Mizgir - "terrible."

At the end of the third act, he is chasing the ghost of the Snow Maiden. It is a symbol of what is to come. “All his love for the Snow Maiden was the pursuit of a ghost.”

The burning feeling of Mizgir frightens the Snow Maiden. And yet she yearns to love and asks Spring to give her love. “Love will be your death,” warns the mother. But the girl is adamant:

Let me die, one moment of love

More dear to me years of anguish and tears.

Oh mama, what's wrong with me? What beauty

The green forest is dressed! Shores

And the lake is not to be missed.

The water beckons, the bushes are calling me

Under your shade; and the sky, mother, the sky!

The flood of dawn in quick waves Swaying.

This departure of the Snow Maiden sounds in the play as a sacrifice to the fertility and prosperity of the Berendey kingdom. Her death can also be interpreted as a victory of the living over the dead, but not in understanding the calendar change of seasons, but in a broader, sacred sense. “The Snow Maiden is an surreal, mythological creature, it’s as if she doesn’t exist from the very beginning - she doesn’t feel, doesn’t suffer, she doesn’t have what other girls have ... she is completely devoid of the ability to love ... While the Snow Maiden doesn’t have a “girl’s heart”, she is not suitable for the victim, however, having received it, or rather a wreath symbolizing it, a sign of fertility and new life, expressed in a plant code, she immediately falls into the zone of influence of Yarila and “dies” in the rays of the sun. Note that, according to tradition, Yarilo was depicted in a wreath of wild flowers, similar to the one that the mother gave to the Snow Maiden and which has a magical effect.

Admiring the "Snow Maiden" A.V. Lunacharsky wrote: “Ostrovsky gave in The Snow Maiden an incomparable masterpiece, one of the greatest pearls of Russian fairy tale poetry…”

2. Research work

.1 Organization of primary perception and commentary of the text

Methodological science offers to help the modern literature teacher a wide range of methods and techniques aimed at developing the reader's perceptions of schoolchildren. The quality of perception of a literary work largely depends on the interpretation and implementation of these techniques.

An obligatory component of the literature lesson is the word of the teacher, which serves as a model of correct speech. At the center of this technique is the teacher's story about creative activity writer, about his biography. Acquaintance with the writer is an opportunity to help the writer correctly and fully understand ideological content artistic work.

We believe that in our particular case, the creative biography of A.N. Ostrovsky should be disclosed as fully as possible, since not all schoolchildren know the name of Ostrovsky, especially since they meet this name for the first time in the lessons of Russian literature. In order for children to get a more complete picture of the life and work of the writer, a presentation was used using photographs depicting the Ostrovsky house, portraits of Alexander in children's and youth, photography books.

The next stage of our work was a preliminary acquaintance with the “spring fairy tale” by A. Ostrovsky “The Snow Maiden”. At this stage, reading with a "stop" was used in order to interest students, to encourage them to independently read the fairy tale at home. We stopped at the moment when the action begins to tie up: "The Snow Maiden goes to live with the Berendeys." We tried to put the students in the action of the play and began an analytical reading by asking a series of questions that allow us to recreate in the minds of the students visual images heroes of the play - fairy tales.

Thus, in the process of reading the play, the children had to see and hear what was happening on the stage in their imagination, be a potential spectator of the play, imagine how the character moves, speaks, lives, which greatly facilitates further reading and perception of the play.

We began the stage of text analysis with a conversation, during which we tried to find out whether the fairy tale was fully read and mastered: what impression did the children have about the work and its heroes: what and who is the author telling us about.

The next group of questions was focused on discussing the compositional features of the play. Here we pay attention to folklore basis plays. At this stage, mastering the given text and enhancing their knowledge. We invite students to answer the question: “The signs of what literary genre appear in the play?”. Here the children had to find out what laws this play was built on, what the author used to write it, what elements of oral folk art are used in the work, and what genre features are observed.

In the process of analyzing the work, we pay attention to the fact that the play - A. Ostrovsky's fairy tale - is a dramatic work. It is based on conflict. Here it is necessary to find out how students understand the meaning of this word and what conflict underlies the play - Ostrovsky's fairy tale "The Snow Maiden".

Another group of questions was focused on identifying the semantic accents placed by the guys, their understanding of the significance of certain episodes. Text paraphrasing has been used here.

It was also proposed the task to tell about the system of characters in the play, divide them into groups in accordance with the character dramatic action and development of the plot, give a description. The discussion began with a description of the inhabitants of the country of the Berendeys: Berendey, Mizgir, Kupava, Lelya - in order to identify in the process of analyzing the spiritual values of the heroes and how they characterize them. As a conclusion, we invited students to answer the question: “What character traits of the Russian people did you notice in the Berendeys?”. Next, the children were asked to complete illustrations depicting their favorite character in the play - a fairy tale. This task gave us the opportunity to analyze the perception of the text by students. Together with the guys, we examined and commented on the illustrations, and then offered to choose the best one and justify our choice.

Next, we defined the control and experimental groups by dividing the class into two parts. In the control group, the study of the work ended. As homework they were asked to write an essay on the topic: "My impressions of A. Ostrovsky's play "The Snow Maiden"".

The experimental group continued to work on the work.

In order to increase the interest of students in the work, to give them the opportunity to enter the work and get used to it, to awaken the imagination and empathy of the children for literary images, we gave the following homework - to prepare the script for the play based on the prologue of the fairy tale play.

Before completing this task, preliminary work was carried out in the form of a conversation:

What characters will be in the play?

How would you frame the scene?

What costumes will your characters have?

Is it possible to depict twilight on stage? What is the best way to do this? What tools can be used for this?

And how can you portray the cries of a rooster? (Pay attention to noise effects), etc. To complete this task, we divided the group into two subgroups. This work primarily encourages students to be creative, to implement literary images, activating the reader's perception, allows you to draw more sharply storylines in the minds of students, sharpens reading, attention to a literary text.

Further work on the work proceeded as follows: we finished work on the analysis of the fairy tale play “The Snow Maiden”, introduced the children in more detail to the life and work of V.M. Vasnetsov, P.I. Tchaikovsky, N.A. Rimsky-Korsakov and summarized everything that they learned in connection with the study of this work.

Completing the work on the play, we reflect in detail on the image of the vowel heroine - the Snow Maiden. The students of the group were divided into subgroups. Each subgroup received its own task. These tasks were formulated in the form of questions that were not numerous, so as not to disperse the thoughts of students, to help them better understand the ideological and artistic content. The analysis used expressive reading and selective reading. During the discussion, each subgroup received advice from the teacher.

Then the teacher fine arts introduced us to the life and work of Viktor Vasnetsov, talking about his interest in folk art. She demonstrated Vasnetsov's works for A. Ostrovsky's fairy tale play "The Snow Maiden". It was noted that the inhabitants of the fabulous kingdom of Berendei in Vasnetsov's drawings are, as it were, real people, Russian peasants in folk sundresses, colorful shirts, patterned ports, in high hats, in bast shoes or smart boots. The scenery for the production of the play was also made in folk style. At the end of the story, the question was asked: “What do you guys think, why did V. Vasnetsov portray the heroes of the play in such outfits?”

The music teacher told about the role composers P.I. Tchaikovsky and N. Rimsky-Korsakov played in the production of the play, and offered to watch a fragment from the animated film "The Snow Maiden", in which the music of N. Rimsky-Korsakov was used.

After watching a clip from the film, the students had the opportunity to evaluate their creative writing work. The children were able to see what they more or less succeeded in doing this type of work.

In order to bring students to comprehend the idea of the work, we complete the analysis with a generalizing conversation, during which the following questions were asked:

How did Berendei take the finale of the love story of the Snow Maiden and Mizgir?

What new things did you discover in yourself and those around you thanks to the fairy tale?

Thus, in the course of the analysis, we led the children to understand the author's intention, the idea of the play, and were able to pay attention to the features of the dramatic text.

During the experiment, the following types of control were used: self-control, testing.

At the end of the experiment, we conducted a survey of students in the control and experimental groups. The questionnaire included the following questions:

Did you like the play?

Which of the characters do you remember?

How do you feel about the characters in the play?

Do you know which artist illustrated the play?

Which composer wrote the opera for the play "The Snow Maiden"?

Would you like to see a movie based on this play?

What is the conflict at the heart of the play-fairy tale?

What is the idea behind this piece?

The questionnaire made it possible to determine the degree of assimilation of the studied material.

2.2 The specifics of reading and analyzing the fairy tale play by A.N. Ostrovsky "The Snow Maiden" (results of the experiment)

The results of the experiment can be identified as a result of the analysis of the oral answers of schoolchildren, answers to the questions of the questionnaire, testing, creative works, drawings obtained in the process of working on the test.

The presentation (for the experimental group) and the micro-lecture (for the control group) about the life and work of A. Ostrovsky included facts about where and at what time the Ostrovsky family lived, about its way of life; about childhood, years of study and service of the writer, his first plays, his role in dramaturgy. We counted the opportunity to note the fact that the "spring tale" "The Snow Maiden" is significantly different from all the works of Ostrovsky. She has never received recognition in criticism and on the stage of the theater. And only thanks to such outstanding people as the artist V.M. Vasnetsov and composers N.A. Rimsky-Korsakov and P.I. Tchaikovsky, the play was a great success.

When summarizing and clarifying the reader's perception of the text, we considered it necessary to identify the reproducibility of this material.

In the control group, where the survey was individual character, well-performing students reproduced about 70% of the material presented. The name of the city where the writer was born and grew up remained outside the students' attention; date of release of his first works; place of work of the writer.

The experimental group had a face-to-face conversation. When asked about the most memorable facts of the life and work of the writer, we received the following answers: “The Ostrovsky family lived in a one-story house, and the streets were dirty, deserted”, “He studied at the law faculty of Moscow University, but left it and decided to fully engage in literary activity” , "Ostrovsky was very fond of the theater." This testifies to the attention of children to the events of the writer's childhood. After a series of questions, it was possible to restore the main stages of the life and work of the writer.

The use of "reading with a stop" proved to be effective. Almost all students read the work. The leading motive for reading was the desire to find out what would happen next: “Will the Snow Maiden be able to live among people?”

A conversation to identify the reader's perception of the work showed that the students' answers to some questions polarized. In this conversation, we used the following questions: “Did you like the play? In what mood did you finish reading? If you were offered paints, what would you choose to paint your mood? In the perception of the tale, despite personal differences, many students were unanimous. The most typical answers are: "... yes, I liked the fairy tale." But the children also expressed their surprise at the ending of the tale, which was not characteristic of this genre. On an emotional level in the scale of feelings: sadness, melancholy, pity, surprise.

Discussing the compositional features of the play, the children noted that The Snow Maiden was written on the basis of Russian folk tales. It is based on elements of calendar and ritual poetry: the Maslenitsa holiday. Noted the presence in the play lyrical songs. Students independently noted that the work is similar to a Russian folk tale, because it is precisely for a fairy tale that the struggle of opposites is characteristic: good and hall, stupidity and ingenuity, cold and heat, Frost and the Sun; the animation of creatures: Spring, Frost, Snow Maiden, goblin and others: a fabulous solution to the difficulties of heroes. Also, students came to the conclusion that the plot is based on fiction. called fabulous compositional construction works: beginning, plot, development of action, climax, denouement.

Independently and quite easily, the students determined the conflict of the play: the confrontation between the natural elements - Frost and the Sun. They noted that the conflict originates in the Prologue and runs through the entire play. Also, with the help of the teacher, they saw another conflict - a conflict in the soul of the Snow Maiden: to live without knowing what love is, or, having learned the miracle of true love, die.

Revealing the system of characters in the play, the children were asked to divide them into two groups and give a name to each group of characters. In the process of this work, the students tried to answer the question: “Which of the groups they proposed include the Snow Maiden?” In the course of the discussion, they came up with the following table:

Actors embodying natural forces and elements Characters representing the world of the BerendeysSpring, Frost, Leshy, birds, the Sun. Bobyl, Bobylkha, Lel, Kpava, Mizgir, Tsar Berendey and others. The Snow Maiden is a child of nature living in the world of people.

To this stage experiment, the guys made drawings at home. The evaluation of the work took place together with the guys: the student told which hero of the play he portrayed and why he chose him. We have collected 16 drawings depicting the characters in the play. In their works, the guys depicted different characters: "Snow Maiden" - 7, "Mizgir" - 2, "Spring - Red" - 3, "Frost" - 2. "Lel" - 1, "Kupava" - 1.

In the drawings, we saw the attitude of students to the fairy tale play. A bright palette of colors makes it possible to judge the good perception of the fairy tale and the mood it created. A large and varied range of colors - yellow, orange, red, green, blue, as well as their combination - indicates a positive attitude towards the work. The depiction of the human figure in detail communicates a thoughtful approach to the performance of work. Detailed painted faces, i.e. the presence of eyes, nose, mouth, their image in the desired color perspective allows you to judge the dedication to work on the image of the subject. Such an approach of students to work, the originality of the drawings, makes it possible to judge the interest of students in this work.

To systematize and generalize the reading experiences of students, we chose to work in groups (2-3 people each). The groups were asked questions of a problematic nature: Group 1 - How does the main character change as the story develops? What is the nature of these changes? Group 2 - Read the dialogue of Spring and Frost in roles (app. 2). What are Frost and Spring arguing about? Group 3 - What is happiness for the Snow Maiden? Why does she want to go to people? Group 4 - Why does the Snow Maiden choose love and not life? Group 5 - How can you explain Spring's decision to give her daughter love, thereby dooming her to death?

In general, the students understood the questions, and they could fully answer them: “We observed a change in the state of the Snow Maiden: from complete indifference to love to a passionate desire to acquire this ability at the cost of own life"," Frost and Spring are arguing about future fate to her daughter the Snow Maiden”, “Happiness for the Snow Maiden is to find oneself in the world of people”. “The Snow Maiden understands that having known love, she will die, but she will no longer be able to live without love”, “We believe that the gift of Spring is the law of nature: all living things must love”, “Love for the Snow Maiden is not death, but the acquisition of a new life ". When answering questions, the guys tried to use quotes from the text, demonstrating a good knowledge of the plot of the work.

Analyzing the creative work on compiling the scenario of the performance, we can note that the guys thought about how to portray the cock crow on the stage, and they suggest turning on the sound recording; how to convey the onset of spring: “Smooth, calm music sounds”, “Twilight on the stage: the lights gradually flare up brighter”, “An image of Spring appears in the background - Red surrounded by birds”, “Before Santa Claus appears, sprinkle “snow” on the stage”, and when he appears on the stage, then turn on the steam. Further work is reduced to retelling or copying the text. There is an omission of some replicas of the characters in the play. Comparing the watched excerpt from the cartoon with their scripts for the play, the guys clearly made sure that not everyone in literary text can be transferred to the screen.

While working on the material for this homework assignment, the students had to provide scenery for the performance. Discussing the question: “Why is Krasnaya Gorka so named?”, The children expressed two opinions: “Krasnaya Gorka is so named because red flowers bloom on it in spring and summer”, “When the sun rises, the hill is illuminated with red light, so it was called Krasnaya hill."

Illustrations depicting scenery were made by 7 students. I would like to note that the guys tried to depict in their drawings everything that Ostrovsky writes about, describing the scene of the play. When depicting the “Red Hill”, the guys showed the sunrise and red flowers growing on the hill. The children did a good job. This indicates that students' interest in the work does not fade away during the entire period of work on it.

The data obtained during the testing showed the following results: 12 people participated in this type of control, of which 6 students wrote a paper for "excellent", 4 students for "good", and 2 students for "satisfactory". Conclusion: the play "The Snow Maiden" was mastered by the children quite well (quality 92%). Almost all students remembered the names of prominent people who brought great popularity to the fairy tale play.

After analyzing the questionnaires of students from the control group, we came to the following results:

Almost all the children liked the story, many of them would like to see the film.

Only a few students were able to remember the name of the artist who illustrated the play. And not a single child remembered the name of Rimsky-Korsakov.

Not all children remember the names of the heroes of the play, so they could not express their attitude towards them.

Not all children indicated which conflict is at the heart of the play. Many of them didn't understand what the idea was this work.

Analyzing the questionnaires of the experimental group, we saw that almost all the children remembered the names of the composers and the artist who paid attention to the play. It was easy for children to point out what kind of conflict is at the heart of the play, while indicating both external and internal conflicts. The guys very accurately defined the idea of the work, listed all the characters in the play - fairy tales and indicated a different attitude towards them: “I feel sorry for the Snow Maiden and Mizgir”, “Tsar Berendey is kind and caring”, “Kupava is unhappy, I feel sorry for her”, “ Spring is a mother who loves her daughter Snegurochka" "Father Frost is evil, but he was afraid for his daughter."

The results of the survey in the experimental class allow us to talk about the effectiveness of using interpretation when getting acquainted with a dramatic work, which made it possible to activate students, their mental activity, independence, and interest in reading. Mastering the text of Ostrovsky's play "The Snow Maiden" will be deeper if you use the study of the work in connection with other types of art that will contribute to the development of visual, auditory, emotional images of the work and the reader's perception of the work as a whole.

Conclusion

Reader's perception is considered as the basis school analysis artistic text. The specifics of the analysis depends on the reader's experience and artistic features the work being studied. It is possible to correct and deepen the reader's perception by applying the interpretation of the work in other types of art.

The tasks proposed for the experiment are determined by the specifics of the fairy tale play and the peculiarities of the reader's perception of the dramatic text by 6th grade students, and above all, the openness of the emotional state of children of this age. Different kinds of the proposed works were aimed at mastering the position of the author, at the formation of perception and awareness of the laws of constructing a dramatic text, and also focused on creative and research work.

Experimental testing took place in the 6th grade of KSU "School School No. 22 in Temirtau".

To identify the dynamics of reader's perception, a survey was conducted, the results of which allow us to judge some positive changes in the perception of a dramatic text. This was especially clearly manifested in the increased attention to the style of the writer and to the selection of language means by him when creating the play - the fairy tale "The Snow Maiden".

The use of illustrations, reproductions, music, animated film - gave more high level reader's reception and reproduction of the text with delayed control, more accurate and deeper understanding author's position and the main idea of the text.

An analysis of the colors of the drawings makes it possible to judge the emotionally positive perception of the play. We can also note a high level of activity in the process of studying the play. In general, the work performed (analysis of students' answers, good reproducibility of the text, identification of the most significant problems, understanding the role of a detail, commenting on the author's position) allows us to conclude that sixth graders can successfully master the work.

The effectiveness of the “script writing” we used turned out to be somewhat lower than expected, but at the same time, the knowledge gained by the students in the process of this work allowed them to more vividly perceive the world of a dramatic work.

In the process of work, we came to the conclusion that the analysis should not suppress, but enhance emotional perception and deepen students' understanding of a literary text. And for this it is necessary to link literature with other forms of art.

It should also be noted that the reader's impression of students and the interpretation of the work make it possible to increase the significance of initial observations on the text, to develop creative imagination, to create interest in the analysis of the text through observations of the ideological and compositional significance of individual episodes, dialogues, descriptions.

List of used literature

1 Alschwang A.P.I. Tchaikovsky. - Ed. 3rd. - M.: Music, 1976. - 916s.

Arzamastseva I.M. Children's literature. - M.: Academy, 1977. - 310s.

Vasnetsov V. Works on the image of the "Snow Maiden". 1985 // Art. - 2002. - No. 5 - S. 8-9.

History of Russian literature of the XIX century. / Ed. CM. Petrov. - T. II. - M.: Education, 1963. - S. 300-344.

History of Russian literature in III volumes / Literature of the second half of the XIX - early XX centuries. - T. III. - M.: Nauka, 1964. - 903 p.

Kalmanovsky E. Fairy tales and thoughts // New World. - 1961. - No. 2. - S. 205-215.

Ko Yong Ran. An artist in the world of the Berendeys // Bulletin of the Moscow State University "Philology Series". - 2002. - No. 1. - P.142 - 147.

Kogan D. Mammoth circle. - M.: Fig. lawsuit, 1970. - 218s.

Kunin I.F. Nikolai Andreevich Rimsky - Korsakov. - M., 1989. - S.40-47.

Lakshin V.Ya. A.N. Ostrovsky. - M.: Art, 1976. - 528s.

Lebedev. Snow Maiden // In the middle of the century. - M., 1989. - S.98-109.

Lunacharsky A.V. "Snow Maiden" A.N. Ostrovsky. / Collected. sochin., 8 vols., - T.III. - M.: Hood. Lit., 1964. - 14s.

Mankovsky A.V. "The Mermaid of A.S. Pushkin and the Snow Maiden of A.N. Ostrovsky" // Bulletin of the Moscow State University "Series Philology". - 2002. - No. 3. - S. 121-128.

The legacy of A.N. Ostrovsky and World culture. - M.: USSR, 1974. - 352 p.

Revyakin A.I. Ideas, themes and social characters of the dramaturgy of A.N. Ostrovsky. - Ed. 2nd,. - M., education, 1974. - S. 140-142.

Tumashena N. Tchaikovsky: The Path to Mastery. 1840-1877. - Part 1. - M.: Publishing House of the Academy of Sciences of the USSR, 1962. - 559p.

Stein A.L. "Master of Russian Drama" // Etudes on Ostrovsky's work. Soviet writer. - M., 1973. - 432s.

Application

Test.

1.What conflict is the play based on?

a) The Snow Maiden cannot love

b) Reflections on the drama of a person's fate

c) The Snow Maiden's passionate desire to find happiness

d) Opposition of Frost and the Sun

How many conflicts are based on the play:

a) external

b) internal

c) internal and external

d) no conflict

Which artist designed the costumes for the play "The Snow Maiden":

a) Shishkin

b) Vasnetsov

d) Antokolsky

Which composer wrote the opera of the same name based on the play by A.N. Ostrovsky "The Snow Maiden":

a) Mozart

b) Tchaikovsky

d) Rimsky - Korsakov

Where does the action take place in the play?

a) in the country of the Berendeys, in prehistoric times

b) in the forest, on the border of spring and winter

c) on the red hill

d) in a Russian village

How many parts does the play consist of - Ostrovsky's fairy tale "The Snow Maiden":

a) out of 4 steps

b) from 3 acts and a prologue

c) of 5 acts and a prologue

List the characters in the play:

a) Gerasim, Svetlana, Snegurochka, Lel

b) Kupava, Lel, Mizgir, Bobyl

c) Mizgir, Snegurochka, Eroshka, Berendey

d) guys, berendeys, buffoons, guslars

What did Spring give to her daughter Snegurochka:

a) new life

b) happiness

c) love

d) immortality

Which group of characters does the Snow Maiden belong to:

a) embodying natural forces and elements

b) to both groups

c) representing the world of the Berendeys

d) none of the groups

When is the climax of the play:

a) when the Snow Maiden gets to berendey

b) in the scene of finding the gift of love

c) in the prologue

d) at the end of the play

Answer key:

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Material from the manual of Solovyova F.E. Workbook to the textbook "Literature. 8th grade". (authored by G.S. Merkin): at 2 p.m. P2 / F.E. Solovyov; ed. G.S. Merkina - M .: OOO "Russian Word - Textbook", 2013

Lessons 1 - 2. Brief information about A.N. Ostrovsky. The play-tale "Snow Maiden". The peculiarity of the plot. Connection with mythological and fabulous traditions. Elements of folklore in a fairy tale.

1. Listen to the teacher's message about A.N. Ostrovsky. Complete the second part of the table.

Biographical information	My comments on what I heard
Nikolai Fedorovich Ostrovsky, Lyubov Ivanovna Savvina - father and mother
Primary home education
In 1835 - 1840 - studying at the Moscow provincial (first) gymnasium
1840 - 1843 - studying at the law faculty of Moscow University. Passion for theater
1843 - 1851 - service in court, first literary experiments
Themes of A.N. Ostrovsky

2. Make up questions for the article of the textbook "The creative history of the play" Snow Maiden ""

3. Write down the most character traits literary fairy tale.

_________________________________________________________________

4. Correlate the events of the fairy tale play with the events fairy tale. Fill in the third part of the table according to the model. What is the similarity between the composition of a fairy tale and a fairy tale play by A.N. Ostrovsky?

Fairy tale composition		The events of the fairy tale play
exposition	The reasons that gave rise to the plot: the prohibition and violation of the ban on some actions	“Yarilo will burn it, incinerate it, melt it, I don't know how, but it will die. How long Her soul is pure as a child, He has no power to harm the Snow Maiden. "Snow Maiden, run away from Lelya!"
tie	Main character or the heroine discovers a loss or shortage
Plot development	Finding lost or missing. Meeting with the donor
climax	The protagonist or heroine fights the opposing force and always defeats it or solves difficult riddles
denouement	Overcoming loss or shortage. The wedding and the accession of the hero

5. Write down in the second part of the table the names of ritual songs, variations and arrangements according to the model.

Russian songs and rituals	Songs
Arrangements and variations of folk songs	“Birds gathered, singers gathered”; "What is it like for birds to live on the sea"; "Strawberry-berry ..."; “Khmelinushko, stamina blade of grass ...”
Magic ritual associated with sowing, reaping and threshing
Folk songs, chants accompanying the funeral ceremony of Maslenitsa
Rites associated with the celebration of Semik (Thursday in the seventh week after Easter)
Elements of the wedding ceremony

6. Name the sources that served as the basis for the creation of the fairy tale play.

_________________________________________________________________

Lessons 3 - 4. Features of the conflict of the play-fairy tale. Berendey's kingdom in the play by A.N. Ostrovsky.

1. Write down phrases from Spring's monologue in the Prologue that recreate the picture of the kingdom of the Berendeys.

__________________________________________________________________

2. Make a brief description of the inhabitants of the Berendey kingdom and Tsar Berendey by filling out the fourth part of the table according to the model.

Heroes	Meaning of the name	Quotes for commenting	Brief description of the heroes
Bobyl	A poor peasant who does not own land; lonely, lives in people as a backbone or in laborers, watchmen, shepherds	Prologue, yavl.4; d.1, yavl.1 "And bow, and I will break." “I myself am lazy, so there is nothing to blame for poverty. You wander about all day long."	They do not know how to appreciate beauty, they are envious, cunning, greedy, lazy, conceited
Bobylikha	Bobylikha - Bobyl's wife; a homeless and poor widow living among people, in the backyards, outside the village	“What is your job! Who needs! From it you will not be rich, but only full; so it is possible, without work, to subsist on worldly pieces. The dream of the heroes: “that day, then a feast, that morning, then a hangover”; “with kik horns”, looking at which “boyars would die of envy”
Murash	Ant, insect, small species of ants, goosebump, found in homes and kitchens	D.1, yavl.1 “Go ahead, deceive others with bows; and we know you, my friend, quite well. What is safe is whole, they say "
Berendey and the Berendey kingdom	Berendey, nomadic tribe Turkic origin, mentioned in Russian chronicles from 1097 to the end of the 12th century. In connection with the invasion of the Mongol-Tatars in Russia at the beginning of the XIII century, part of the Berendey went to Bulgaria and Hungary, the rest merged with the population of the Golden Horde	D.2, yavl.1 Dialogue between the king and Bermyata. D.2, yavl.2 “They steal a little, well-being is a great word, I haven’t seen it among the people for a long time.” “In the hearts of people I noticed I will cool down a lot.” "Vanity, envy of other people's outfits." “Matrimonial fidelity has lost a bit of its inviolability and certainty”

3. What does Berendey see as the cause of misfortune?

__________________________________________________________________

4. Write down a brief description of Lel, Kupava, Snegurochka, Mizgir in the fourth part of the table.

Heroes	Meaning of the name	Quotes for commenting	Brief description of the hero
Lel	The name of an old Russian god, compared with cupid, cupid. Some Slavic peoples spring was called Lyalya or Leley	D.1, yavl.3 “You see, they are waiting for me and beckoning me with a pen. Let's run, joke, laugh, whisper at the tyn under the guise, from the angry mothers on the sly.
Kupava	Kupava, kupavna (Psk. Tver.), magnificent, proud. Kupalo, god of summer	D.1, yavl.5 “I, the Snow Maiden, but how happy I am! You can’t live without a sweetheart, you have to love someone, you can’t do it. ” “Then goodbye. In his house, in a large royal settlement, in all appearance I am a rich mistress. D.2, yavl.3 “I forgot everyone ... I know and remember only my dear friend” D.3, yavl.6 "My love, until the age and until the hour, gray-winged darling"
Mizgir	Spider, flycatcher; earthen, evil spider, tarantula. Mizgir kill - forty sins come true	D.1, yavl.5 "Good-handsome, ruddy, chubby, red, curly." "Trading guest from the royal town". D.1, yavl.6 "However, Mizgir laughs in our eyes (Brusilo)." D.1, yavl.7 "And for love that has gone out there is no return, Kupava." “Love me, Snow Maiden! I will shower your beauty with priceless gifts and give your life in addition.
Snow Maiden		D.1, yavl.1 "My trouble is that there is no affection in me." D.1, yavl.4 “A heavy insult, like a stone, fell on the heart of a flower, crumpled by Lelem.” D.2, yavl.5 "Her beauty will help us, Bermyata, Yarilin, soften the anger." D.3, yavl.1 “Love me a little; wait, - the Snow Maiden herself will love you. D.4, yavl.2 “I want to love; but I don't know the words of love. “That everything that is dear in the world lives in just one word. This word is Love

5. Why are the Snow Maiden and Mizgir not accepted in the kingdom of the Berendeys?

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6. How close are the images of Frost and Mizgir?

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7. Why did the Snow Maiden fall in love with Mizgir?

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8. Why can't Lel fall in love with the Snow Maiden?

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9. Why did Lel and Kupava fall in love with each other? How are these characters similar?

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10. What is the meaning of the king’s phrase: “Snow Maiden’s sad death and the terrible death of Mizgir cannot disturb us”?

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11. Write down the names of the composers who wrote the music for A.N. Ostrovsky

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Lesson 5

Questions and tasks for self-control

1. What is the name in literary criticism of works of folklore that arose and were performed during the performance of rituals - established actions that have religious, everyday or ritual-playing significance for performers?

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2. Write down examples of inversion. Write down the definition of this literary term.

Let's go quickly! The shadows of the night fade.

Look, the dawn is a barely visible strip

Cut through the eastern sky edge,

It grows, expanding more clearly. it

The day woke up and opens the eyelids

Luminous eyes. Let's go to! The time has come

Meet the sunrise of the Yaril-Sun. Proudly

Before the crowd will show the Sun Lel

My beloved girlfriend.

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3. Which works of oral folk art are characterized by the following features: the principle of analogy between the natural world and the inner world of man; transfer of the internal state of the hero through external forms; various compositional and stylistic devices (parallelism, repetitions, lyrical appeals, tropes)?

Write out the most typical example from the text of the fairy tale play.

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4. What is the name of the type of literary works in literary criticism, built in the form of a dialogue without the author's speech and intended for performance on stage?

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"Thunderstorm Play" - Motivational organization of the drama. And how did you miss the thunderstorm in the poster? The system of images of drama. S. Shevyrev. A.N. Ostrovsky. Thunderstorm. Find how the motives of sin and death are realized in the text. The meaning of the title of A. Ostrovsky's play "Thunderstorm". Look at how the motives of sin and death are realized in the text.

"Plays by A.N. Ostrovsky" - What is music? Conclusion: The role of music in the plays of A.N. Ostrovsky. Songs are used to illustrate folk life, conveying the color of the era. Baratynsky managed to embody richness and complexity emotional world Larissa. Romance. "Strawberry-berry". Romance conveys the subtlest shades of feelings: longing, disappointment, despondency.

"Ostrovsky Snow Maiden" - A.N. Ostrovsky - the creator of the Russian national theater. Main questions. Dramatic work, play (a work intended to be staged). Spring fairy tale by A.N. Ostrovsky "The Snow Maiden" Features of a dramatic work. House of the Ostrovsky family. Modern editions plays by A.N. Ostrovsky "The Snow Maiden".

"Heroes of the Thunderstorm" - The play "Thunderstorm" was written in 1859. The most famous plays by A.N. Ostrovsky. How was Katerina raised? Drama Storm. Love. The playwright's work. Two conflicts. The meaning of the title of the play "Thunderstorm". Curly. A.N. Ostrovsky wrote 50 plays. National Theatre. The meaning of the title. The behavior is hypocritical. Social activity A.N. Ostrovsky.

"The play" Dowry "" - Former merchants turn into millionaire entrepreneurs. Larisa received a Europeanized upbringing and education. All actions of the hero are motivated by the desire to maintain this impression. It is said about Paratov: "Brilliant gentleman." And everyone looks at Larisa as a stylish, fashionable, luxurious thing. Larisa in the Dowry is not surrounded by animals.

"Drama Thunderstorm" - Thunderstorm (the meaning of the name of the play). Thunderstorm. Illustration by S.V. Gerasimov for the drama by A.N. Ostrovsky "Thunderstorm". Katerina. It is known that Ostrovsky gave the role of Katerina in the play to Kositskaya in advance. Small theatre. Katerina, remembering her childhood, talks about sewing on gold velvet. V. Zorin. Kustodiev. Kuligin admires the charm of the Volga landscapes: “Miracles!

Total in the topic 22 presentations

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